6 comments:

I wonder in the Polygraph inspired Charles Moulton to create Wonder Woman's lasso of truth or vice versa? I have only read about 3 WW books (and a few stories in compilation comics like DC Superheroes etc) but could never really get into the mythos of the character and found her a bit dry (although for some reason the 70s TV show I did like, I wonder why) but that period where she was plain Diana Prince always looked interesting and I always enjoyed Sekowskys art around this time - I wonder what the New 52 has done to the character of Wonder Woman ?

D'you know, McScotty, I've often wondered why WW is regarded as one of the big 3 DC mags, which has been in almost constant publication since it first came out. The stories always seemed pretty lame to me, what with an invisible 'plane (give me a break) and all that bondage stuff in the tales from the '40s. I think Marston was a psychologist, which means he probably had some weird stuff going on in his head. As for the New 52 WW - they've probably ruined it like they seem to have done with Superman.

The amount of DC comics I've read can be counted on my fingers but I did read a couple of issues of Wonder Woman around 1982 and I quite enjoyed them I must admit - as for the New 52, from the pictures I've seen the art on WW is awful. Lynda Carter's version would have been a lot different if DC had stuck to the "new" WW - no spinning around or "fighting for her rights in her satin tights" (I think that's how it went).

If I remember correctly, Col, I think that was when Roy Thomas was the writer and Gene Colan the artist, so the comic would've been better than usual. I've just never been that impressed with the character (except when she was Lynda Carter).

That's interesting, Karl. WW wasn't published for a few months some years back, but would DC be obliged to keep publishing the comic if it continually lost money? I'm not sure Marston's estate could legally impose that sort of condition.

STUDIO 77

About the artist:

From 1985 to 2000 A.D. (little joke there), I contributed to a variety of high profile comics and magazines for various companies.

For IPC/FLEETWAY/EGMONT, I freelanced as a lettering and logo artiston various weekly comics and monthly magazines, and also as a resize comic artistandspot illustratoron pocket books, summer specials and annuals.

ForMARVEL U.K., BLACK LIBRARY, REDAN and USBORNE BOOKS, I again freelanced as a lettering artist, also working as arestoration artistfor MARVEL U.S., restoring and re-creating certain pages of JACK KIRBY art for their MARVEL MASTERWORKS editions.

I also lettered the MARVELMAN sample pages submitted to MARVEL U.S. when they were considering acquiring the character, which - as we all now know - they DID.

Supplied comic strips, cartoons and illustrated advertisements for local business campaigns and newspaper publication on a professional basis since the age of 16. Did my first paid art job for publication at 14 or 15 for Lanarkshire Education Board.

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